Script To Remove Quotes

God has a way of picking a “nobody” and turning their world upside down, in order to create a “somebody” that will remove the obstacles they encountered out of the pathway for others.

Writing is such an industry now. In many ways, that's a good thing, in that it removes all the muse-like mystique and makes it a plain old job, accessible to everyone. But with industry comes jargon. I was aware that jargon was starting to fill those growing shelves of Writer's Self Help books, not to mention the blogosphere. Wherever I looked, the writing of a script was being reduced to A, B, C plots, Text and Subtext, Three Act Structure and blah, blah, blah. And I'd think, that's not what writing is! Writing's inside your head! It's thinking! It's every hour of the day, every day of your life, a constant storm of pictures and voices and sometimes, if you're very, very lucky, insight.

Authority is granted to people who are perceived as authoring their own words, their own actions, their own lives, rather than playing a scripted role at great remove from their own hearts. When teachers depend on the coercive powers of law or technique, they have no authority at all.

Nothing moves forward in a story except through conflict. Writers who cannot grasp this truth, the truth of conflict, writers who have been misled by the counterfeit comforts of modern life into believing that life is easy once you know how to play the game. These writers give conflict a false inflection. The scripts they write fail for one of two reasons, either a glut of banal conflict or a lack of meaningful conflict. The former are exercises in turbo special effects written by those who follow textbook imperatives to create conflict but because they're disinterested in or insensitive to the honest struggles of life, devise overwrought excuses for mayhem. The latter are tedious portraits written in reaction against conflict itself, these writers take the pollyanna view, that life would really be nice if it weren't for conflict. What writers at these extremes fail to realize is that while the quality of conflict in life changes as it shifts from level to level, the quantity of conflict is constant. When we remove conflict from one level of life, it amplifies ten times over on another level. When, for example, we don't have to work from dawn to dark to put bread on the table, we now have time to reflect on the great conflict within our mind and heart or we may become aware of the terrible tyrannies and suffering in the world at large. As Jean-Paul Sartre expressed it, "The essence of reality is scarcity. There isn't enough love in the world, enough food, enough justice, enough time in life. To gain any sense of satisfaction in our life we must go in to heady conflict with the forces of scarcity. To be alive is to be in perpetual conflict at one or all three levels of our lives.

Through technology the whole world has now become the media's parish, talk-show hosts the prophets, actors and musicians the priests, and any script will do for the Scriptures as long as moral constraints are removed. Sitting before a well-lit box is all the cultic performance needs, and each person can enthrone his or her own self as divine. Truth has been relegated to subjectivity; beauty has been subjugated to the beholder; and as millions are idiotized night after night, a global commune has been constructed with he arts enjoying a totalitarian rule.

Particularly since Thalberg’s death, she felt like “Penelope with her needles” because others unraveled her work as soon as it was done. Screen-writing had become “writing on the sand with the wind blowing. They chew up and disgorge your stories until they’re so far removed from your original idea or conception that all you recognize is your name, and often that isn’t spelled correctly.” Or your name wasn’t on the screen at all. Even though she had signed over the rights to a dozen scripts she had completed for MGM since 1940, Frances had not received an on-screen credit in all that time.

Except, of course, this one wasn’t in the script. At the moment of impact, I couldn’t help but look up at André, at first wondering, like a good many others, if we were experiencing an earthquake and then, having discovered we were not, out of sheer concern for his well-being. The sonic resonance was so intense I even observed our soundman remove his headphones to protect his ears. As the fart continued, I looked back at André. What struck me, besides, of course, the sheer immensity of the wind, was that steam appeared to be rising from his hairpiece, which, given that it was a particularly hot day, was apparently not unusual for him.

Inside, on a bed of black velvet, lay an exquisite perfume bottle designed from rose-colored glass caged in a silver overlay that twined about the glass like living vines. In the very center of the oval shaped bottle, the silver was formed into the image of a lily in full bloom. It was likely the most precious and expensive gift Lily had ever been given. She ran her fingertips over the delicate silver work before lifting the bottle from its velvet bed to allow the candlelight to shine through the rose-colored glass. She noticed then a folded slip of paper still in the box. Setting the perfume bottle in the valley of her lap, she lifted the paper and broke the tiny wax seal. In his precise, slanted script, Lord Harte had written: I was unforgivably remiss in not having a gift for you the other night. I chose the elements for this blend myself. It made me think of you. Lily brushed her thumb over the ink before setting the note back into the box. Then she shifted the bottle and removed the glass stopper. The scent wafting from the bottle was light, but heady. She noticed first the rich notes of clove and honey before her senses were claimed by the smooth, velvety scent of jasmine. Lily closed her eyes, allowing the aromatic infusion to settle into her awareness. There was another element hidden deep within the perfume. A layer of earthiness that warmed her blood. Sandalwood. Lily was enthralled. It was a complex and lovely scent. Floral and exotic, light and dark. Impossibly sensual. And it made him think of her. Something deep and fundamental spread through her core, and she understood why young ladies were warned so often not to accept gifts from gentlemen. It was a personal and intimate thing to acknowledge how he had wanted her to have something he chose himself.

healthy eating go-to scripts God has given me power over my food choices. I’m supposed to consume food. Food isn’t supposed to consume me. He said to me, “My grace is sufficient for you, for my power is made perfect in weakness.” . . . For when I am weak, then I am strong. (2 Corinthians 12:9–10) I was made for more than to be stuck in a vicious cycle of defeat. You have circled this mountain long enough. Now turn north. (Deuteronomy 2:3 NASB) When I’m considering a compromise, I will think past this moment and ask myself, How will I feel about this choice tomorrow morning? Do you not know that your bodies are temples of the Holy Spirit, who is in you, whom you have received from God? You are not your own; you were bought at a price. Therefore honor God with your bodies. (1 Corinthians 6:19–20) When tempted, I either remove the temptation or remove myself from the situation. If you think you are standing firm, be careful that you don’t fall! No temptation has overtaken you except what is common to mankind. And God is faithful; he will not let you be tempted beyond what you can bear. But when you are tempted, he will also provide a way out so that you can endure it. Therefore, my dear friends, flee. (1 Corinthians 10:12–14) When there’s a special event, I can find other ways to celebrate rather than blowing my healthy eating plan. See, I have placed before you an open door that no one can shut. (Revelation 3:8) Struggling with my weight isn’t God’s mean curse on me, but an outside indication that internal changes are needed for me to function and feel well. “Forget the former things; do not dwell on the past. See, I am doing a new thing! . . . I am making a way in the desert and streams in the wasteland.” (Isaiah 43:18–19) I have these boundaries in place not for restriction but to define the parameters of my freedom. I am using an example from everyday life because of your human limitations. Just as you used to offer yourselves as slaves to impurity and to ever-increasing wickedness, so now offer yourselves as slaves to righteousness leading to holiness. (Romans 6:19)

I was once shown the script of a film based on a parable of a city completely ruled by randomness—very Borgesian. At set intervals, the ruler randomly assigns to the denizens a new role in the city. Say the butcher would now become a baker, and the baker a prisoner, etc. At the end, people end up rebelling against the ruler, asking for stability as their inalienable right. I immediately thought that perhaps the opposite parable should be written: instead of having the rulers randomize the jobs of citizens, we should have citizens randomize the jobs of rulers, naming them by raffles and removing them at random as well. That is similar to simulated annealing—and it happens to be no less effective. It turned out that the ancients—again, those ancients!—were aware of it: the members of the Athenian assemblies were chosen by lot, a method meant to protect the system from degeneracy. Luckily, this effect has been investigated with modern political systems. In a computer simulation, Alessandro Pluchino and his colleagues showed how adding a certain number of randomly selected politicians to the process can improve the functioning of the parliamentary system.

Carolina removed an old and creased single sheet of paper, yellowed with age, that was now carefully protected in clear, acid-free paper. She handed it to Dara. "This was folded up in a parik-til, in the box with my birth certificate." "A parik-til?" asked Jennifer. "It is a small pouch that is filled with things to bring good luck or blessings." She held up the cloth bag and opened it for the girls to see. "Gypsies use them, but so do Native Americans as well as people from Central and South America and other parts of the world. When I got it, I had no idea what it was or what it meant. I knew the folded piece of paper was old and somehow had to be important to me since my birth parents had included it with the other things they wanted me to have." Carolina stood up and walked over to the window. How well she remembered the overwhelming emotions she felt when she first saw those pages of the Voynich Manuscript in the book she was reading, and then realizing that the ancient script was the same as what was on the piece of paper that had been preserved in the parik-til--her parik-til. "Anyway, as soon as I saw the photographs of some of the manuscript pages in the book I was reading, I made the connection immediately. It was the same script as what was on this sheet of paper that I had been given." All three FIGS crowded closely together to look at Carolina's treasure.

Although parents and teachers are forever telling children to “grow up,” maturation cannot be commanded. One cannot teach a child to be an individual or train a child to be his own person. This is the work of maturation and maturation alone. We can nurture the process, provide the right conditions, remove the impediments, but we can no more make a child grow up than we can order the plants in our garden to grow. Dealing with immature children, we may need to show them how to act, draw the boundaries of what is acceptable, and articulate what our expectations are. Children who do not understand fairness have to be taught to take turns. Children not yet mature enough to appreciate the impact of their actions must be provided with rules and prescriptions for acceptable conduct. But such scripted behavior mustn't be confused with the real thing. One cannot be any more mature than one truly is, only act that way when appropriately cued. To take turns because it is right to do so is certainly civil, but to take turns out of a genuine sense of fairness can only come from maturity. To say sorry may be appropriate to the situation, but to assume responsibility for one's actions can come only from the process of individuation. There is no substitute for genuine maturation, no shortcut to getting there. Behavior can be prescribed or imposed, but maturity comes from the heart and mind. The real challenge for parents is to help kids grow up, not simply to look like grownups. If discipline is no cure for immaturity and if scripting is helpful but insufficient, how can we help our children mature? For years, develop-mentalists puzzled over the conditions that activated maturation. The breakthrough came only when researchers discovered the fundamental importance of attachment. Surprising as it may be to say, the story of maturation is quite straightforward and self-evident. Like so much else in child development, it begins with attachment.

The CEO answered by saying the bill was too high, that he’d pay half of it and that they would talk about the rest. After that, he stopped answering her calls. The underlying dynamic was that this guy didn’t like being questioned by anyone, especially a woman. So she and I developed a strategy that showed him she understood where she went wrong and acknowledged his power, while at the same time directing his energy toward solving her problem. The script we came up with hit all the best practices of negotiation we’ve talked about so far. Here it is by steps: A “No”-oriented email question to reinitiate contact: “Have you given up on settling this amicably?” A statement that leaves only the answer of “That’s right” to form a dynamic of agreement: “It seems that you feel my bill is not justified.” Calibrated questions about the problem to get him to reveal his thinking: “How does this bill violate our agreement?” More “No”-oriented questions to remove unspoken barriers: “Are you saying I misled you?” “Are you saying I didn’t do as you asked?” “Are you saying I reneged on our agreement?” or “Are you saying I failed you?” Labeling and mirroring the essence of his answers if they are not acceptable so he has to consider them again: “It seems like you feel my work was subpar.” Or “… my work was subpar?” A calibrated question in reply to any offer other than full payment, in order to get him to offer a solution: “How am I supposed to accept that?” If none of this gets an offer of full payment, a label that flatters his sense of control and power: “It seems like you are the type of person who prides himself on the way he does business—rightfully so—and has a knack for not only expanding the pie but making the ship run more efficiently.” A long pause and then one more “No”-oriented question: “Do you want to be known as someone who doesn’t fulfill agreements?” From my long experience in negotiation, scripts like this have a 90 percent success rate. That is, if the negotiator stays calm

Frank Borringer stared hard at the ancient script. It just didn’t make sense. If what his associate had told him was true about where this item had come from, the implications would be enormous. He leaned back in his chair, removing the reading glasses from his face. With the other hand, he wiped his eyes and pinched his nose.  Inside his brown tweed blazer, his body perspired from the mental exertion.  His fingers struggled against the constriction of the light-blue bow tie around his neck

Day after day, the curtain rises on a stage of epic proportions, one that has been running for centuries. The actors wear the costumes of their predecessors and inhabit the roles assigned to them. The people in these roles are not the characters they play, but they have played the roles long enough to incorporate the roles into their very being, to merge the assignment with their inner selves and how they are seen in the world. The costumes were handed out at birth and can never be removed. The costumes cue everyone in the cast to the roles each character is to play and to each character’s place on the stage. Over the run of the show, the cast has grown accustomed to who plays which part. For generations, everyone has known who is center stage in the lead. Everyone knows who the hero is, who the supporting characters are, who is the sidekick good for laughs, and who is in shadow, the undifferentiated chorus with no lines to speak, no voice to sing, but necessary for the production to work. The roles become sufficiently embedded into the identity of the players that the leading man or woman would not be expected so much as to know the names or take notice of the people in the back, and there would be no need for them to do so. Stay in the roles long enough, and everyone begins to believe that the roles are preordained, that each cast member is best suited by talent and temperament for their assigned role, and maybe for only that role, that they belong there and were meant to be cast as they are currently seen. The cast members become associated with their characters, typecast, locked into either inflated or disfavored assumptions. They become their characters. As an actor, you are to move the way you are directed to move, speak the way your character is expected to speak. You are not yourself. You are not to be yourself. Stick to the script and to the part you are cast to play, and you will be rewarded. Veer from the script, and you will face the consequences. Veer from the script, and other cast members will step in to remind you where you went off-script. Do it often enough or at a critical moment and you may be fired, demoted, cast out, your character conveniently killed off in the plot. The social pyramid known as a caste system is not identical to the cast in a play, though the similarity in the two words hints at a tantalizing intersection. When we are cast into roles, we are not ourselves. We are not supposed to be ourselves. We are performing based on our place in the production, not necessarily on who we are inside. We are all players on a stage that was built long before our ancestors arrived in this land. We are the latest cast in a long-running drama that premiered on this soil in the early seventeenth century.

Strict mode does a few more things. It disallows giving a function multiple parameters with the same name and removes certain problematic language features entirely (such as the with statement, which is so wrong it is not further discussed in this book).

I very nearly titled this book Stop Murdering the Henchmen after this trope. If I could wave a magic wand and remove a single BS lie from our annals of storytelling, it would be this one. This trope doesn’t just insult a population of the disabled. It doesn’t just discount the experiences of family members of loved ones suffering with a disease. This is a trope that kills real people in the real world, every day.   The

As you are about to go off, try to anchor yourself to that script you have made. Depending on your script, you might remove yourself from the room or start counting to ten. The goal here is to let that surge of high emotion go through you long enough for your more

There are signs, however, that a good time was had all last night. Jo might have found herself caught in the middle of a love triangle, but she clearly didn't mind staying around when she thought that one of the angles had been dispensed with. The remains of dinner still grace the table---dirty dishes, rumpled napkins, a champagne flute bearing a lipstick mark. There's even one of the Chocolate Heaven goodies left in the box---which is absolute sacrilege in my book, so I pop it in my mouth and enjoy the brief lift it gives me. I huff unhappily to myself. If they left chocolate uneaten, that must be because they couldn't wait to get down to it. Two of the red cushions from the sofa are on the floor, which shows a certain carelessness that Marcus doesn't normally exhibit. They're scattered on the white, fluffy sheepskin rug, which should immediately make me suspicious---and it does. I walk through to the bedroom and, of course, it isn't looking quite as pristine as it did yesterday. Both sides of the bed are disheveled and I think that tells me just one thing. But, if I needed confirmation, there's a bottle of champagne and two more flutes by the side of the bed. It seems that Marcus didn't sleep alone. Heavy of heart and footstep, I trail back through to the kitchen. More devastation faces me. Marcus had made no attempt to clear up. The dishes haven't been put into the dishwasher and the congealed remnants of last night's Moroccan chicken with olives and saffron-scented mash still stand in their respective saucepans on the cooker. Tipping the contents of one pan into the other, I then pick up a serving spoon and carry them both through the bedroom. I slide open the wardrobe doors and the sight of Marcus's neatly organized rows of shirts and shoes greet me. Balancing the pan rather precariously on my hip, I dip the serving spoon into the chicken and mashed potatoes and scoop up as much as I can. Opening the pocket of Marcus's favorite Hugo Boss suit, I deposit the cold mash into it. To give the man credit where credit is due, his mash is very light and fluffy. I move along the row, garnishing each of his suits with some of his gourmet dish, and when I've done all of them, find that I still have some food remaining. Seems as if the lovers didn't have much of an appetite, after all. I move onto Marcus's shoes---rows and rows of lovely designer footwear---casual at one end, smart at the other. He has a shoe collection that far surpasses mine. Ted Baker, Paul Smith, Prada, Miu Miu, Tod's... I slot a full spoon delicately into each one, pressing it down into the toe area for maximum impact. I take the saucepan back into the kitchen and return it to the hob. With the way I'm feeling, Marcus is very lucky that I don't just burn his flat down. Instead, I open the freezer. My boyfriend---ex-boyfriend---has a love of seafood. (And other women, of course.) I take out a bag of frozen tiger prawns and rip it open. In the living room, I remove the cushions from the sofa and gently but firmly push a couple of handfuls of the prawns down the back. Through to the bedroom and I lift the mattress on Marcus's lovely leather bed and slip the remaining prawns beneath it, pressing them as flat as I can. In a couple of days, they should smell quite interesting. As my pièce de résistance, I go back to the kitchen and take the half-finished bottle of red wine---the one that I didn't even get a sniff at---and pour it all over Marcus's white, fluffy rug. I place my key in the middle of the spreading stain. Then I take out my lipstick, a nice red one called Bitter Scarlet---which is quite appropriate, if you ask me---and I write on his white leather sofa, in my best possible script: MARCUS CANNING, YOU ARE A CHEATING BASTARD.

In the early seventies I starred in a full-length horror film called 'Killer Bees,' made specifically for television, and although I read the script with trepidation, I ended up thinking it was terrific and said yes. I played a German woman, the mother of Craig Stevens. We shot the film in Hollywood and on location in the beautiful Napa Valley above San Francisco. We saved the scenes with the bees for last, as Mr. DeMille had saved the lion for last in 'Male and Female.' The picture turned out to be a classic in the genre, I think, and it is rerun frequently in America and abroad. People always ask me, 'Weren't you terrified to do those scenes with the bees?' I always want to say, Not as terrified as I was to have a lion put his paw on my back in 1919, but instead I explain that I was really worried only about my ears, so I put cotton in them, and that anyway the bees were sluggish at the start, when they put them all over me, and only came alive as the lights warmed them up. Furthermore, we were told that they had all their stingers removed, but that is the kind of information it is always hard to believe.

The script we came up with hit all the best practices of negotiation we’ve talked about so far. Here it is by steps: 1.​A “No”-oriented email question to reinitiate contact: “Have you given up on settling this amicably?” 2.​A statement that leaves only the answer of “That’s right” to form a dynamic of agreement: “It seems that you feel my bill is not justified.” 3.​Calibrated questions about the problem to get him to reveal his thinking: “How does this bill violate our agreement?” 4.​More “No”-oriented questions to remove unspoken barriers: “Are you saying I misled you?” “Are you saying I didn’t do as you asked?” “Are you saying I reneged on our agreement?” or “Are you saying I failed you?” 5.​Labeling and mirroring the essence of his answers if they are not acceptable so he has to consider them again: “It seems like you feel my work was subpar.” Or “. . . my work was subpar?” 6.​A calibrated question in reply to any offer other than full payment, in order to get him to offer a solution: “How am I supposed to accept that?” 7.​If none of this gets an offer of full payment, a label that flatters his sense of control and power: “It seems like you are the type of person who prides himself on the way he does business—rightfully so—and has a knack for not only expanding the pie but making the ship run more efficiently.” 8.​A long pause and then one more “No”-oriented question: “Do you want to be known as someone who doesn’t fulfill agreements?” From my long experience in negotiation, scripts like this have a 90 percent success rate. That is, if the

March 28th COWARDICE AS A DESIGN PROBLEM “Life without a design is erratic. As soon as one is in place, principles become necessary. I think you’ll concede that nothing is more shameful than uncertain and wavering conduct, and beating a cowardly retreat. This will happen in all our affairs unless we remove the faults that seize and detain our spirits, preventing them from pushing forward and making an all-out effort.” —SENECA, MORAL LETTERS, 95.46 The opposing team comes out strong, establishes an early lead, and you never had time to recover. You walk into a business meeting, are caught off guard, and the whole thing goes poorly. A delicate conversation escalates into a shouting match. You switched majors halfway through college and had to start your coursework over and graduate late. Sound familiar? It’s the chaos that ensues from not having a plan. Not because plans are perfect, but because people without plans—like a line of infantrymen without a strong leader—are much more likely to get overwhelmed and fall apart. The Super Bowl–winning coach Bill Walsh used to avoid this risk by scripting the beginning of his games. “If you want to sleep at night before the game,” he said in a lecture on game planning, “have your first 25 plays established in your own mind the night before that. You can walk into the stadium and you can start the game without that stress factor.” You’ll also be able to ignore a couple of early points or a surprise from your opponent. It’s irrelevant to you—you already have your marching orders. Don’t try to make it up on the fly. Have a plan.

Dear Jesus, I have finally found the courage to admit I've craved food more than You. I have wept over giving up food while hardly giving a thought to You giving Your life for my freedom. I've been bound up by feelings of helplessness. I've been angry that I have to deal with this weight issue and have been mad at You for allowing this to be on of my lots in life. I've made excuses. I've pointed fingers. I've relied on food for things it could never give me. I've lied to myself about the realities of why I gain weight. I've settled and excused and justified my issues. I've been enthralled by buttered bread while yawning through Your daily bread. For all that, I am so sorry. These are not just little issues. These for me are suns -- missing the mark of your best for my life. With my whole heart, mind, and soul, I repent. I turn from the dieting mindset I turn from what I must give up and weep no more. I remove my toe keeping open the door to my old habits, my old mindset, my old go--to scripts. I choose freedom. I choose victory. I choose courage. And above all else, I choose You. Amen.

A TikTok clone app script is a pre-built software solution that allows you to create a short-form video sharing app that is similar to TikTok in terms of features and functionality. TikTok clone scripts are typically much less expensive than developing a custom app from scratch, and they can be deployed quickly, allowing you to launch your video sharing app in a short amount of time. TikTok clone scripts are highly customizable, allowing you to tailor the platform to your specific needs. For example, you can change the branding of the app, add or remove features, and integrate your own monetization strategies. Here are some of the key features that you should look for in a TikTok clone app script: • Video recording and editing: The script should allow users to record and edit short-form videos. Editing features should include trimming, cropping, adding music and effects, and more. • Social features: The script should include social features such as following other users, liking and commenting on videos, and creating and participating in challenges. • Content moderation: The script should have robust content moderation systems in place to prevent the spread of harmful or offensive content. • Monetization options: The script should support a variety of monetization options, such as in-app advertising, subscription fees, and virtual goods. Once you have chosen a TikTok clone app script, you will need to work with a development team to customize the script and deploy your app. The development team will also help you to set up your monetization strategies and launch your app on the App Store and Google Play.

The script we came up with hit all the best practices of negotiation we’ve talked about so far. Here it is by steps: A “No”-oriented email question to reinitiate contact: “Have you given up on settling this amicably?” A statement that leaves only the answer of “That’s right” to form a dynamic of agreement: “It seems that you feel my bill is not justified.” Calibrated questions about the problem to get him to reveal his thinking: “How does this bill violate our agreement?” More “No”-oriented questions to remove unspoken barriers: “Are you saying I misled you?” “Are you saying I didn’t do as you asked?” “Are you saying I reneged on our agreement?” or “Are you saying I failed you?” Labeling and mirroring the essence of his answers if they are not acceptable so he has to consider them again: “It seems like you feel my work was subpar.” Or “… my work was subpar?” A calibrated question in reply to any offer other than full payment, in order to get him to offer a solution: “How am I supposed to accept that?” If none of this gets an offer of full payment, a label that flatters his sense of control and power: “It seems like you are the type of person who prides himself on the way he does business—rightfully so—and has a knack for not only expanding the pie but making the ship run more efficiently.” A long pause and then one more “No”-oriented question: “Do you want to be known as someone who doesn’t fulfill agreements?

From the very earliest years after their creation, the CIA were recruiting assets within the highest levels of the film industry and using them to spy on Hollywood and to add and remove material from movie scripts.

From the very earliest years after their creation, the CIA were recruiting assets within the highest levels of the film industry and using them to spy on Hollywood and to add and remove material from movie scripts.

As I opened the discussion, one of the men, Amir Mateen, rather condescendingly suggested I sit like a prop and let them set the theme. Clearly he mistook me for the young girls who would merely complement the older, silver-haired analysts. I ignored him. As I continued my line of questioning, he rather rudely rebuked me in the break, calling for me to be replaced. I couldn’t believe he was saying it right in front of me. “This young girl has no clue how to run the show,” he called out. I said nothing, and sent a message to the Managing Director, Ahmed Zuberi, asking to remove the guests immediately, or I would walk away. The gentlemen were both removed and replaced by my pre-booked guests. This was my first taste of what it was like to stick to the script handed over by higher authorities. A year later, at PMLN leader Daniyal Aziz’s house, the same man would apologise profusely to me in public for his rudeness.

1.​A “No”-oriented email question to reinitiate contact: “Have you given up on settling this amicably?” 2.​A statement that leaves only the answer of “That’s right” to form a dynamic of agreement: “It seems that you feel my bill is not justified.” 3.​Calibrated questions about the problem to get him to reveal his thinking: “How does this bill violate our agreement?” 4.​More “No”-oriented questions to remove unspoken barriers: “Are you saying I misled you?” “Are you saying I didn’t do as you asked?” “Are you saying I reneged on our agreement?” or “Are you saying I failed you?” 5.​Labeling and mirroring the essence of his answers if they are not acceptable so he has to consider them again: “It seems like you feel my work was subpar.” Or “. . . my work was subpar?” 6.​A calibrated question in reply to any offer other than full payment, in order to get him to offer a solution: “How am I supposed to accept that?” 7.​If none of this gets an offer of full payment, a label that flatters his sense of control and power: “It seems like you are the type of person who prides himself on the way he does business—rightfully so—and has a knack for not only expanding the pie but making the ship run more efficiently.” 8.​A long pause and then one more “No”-oriented question: “Do you want to be known as someone who doesn’t fulfill agreements?” From my long experience in negotiation, scripts like this have a 90 percent success rate. That is, if the negotiator stays calm and rational. And that’s a big if. In